By J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte
Because the moment half the final century paintings historians, knowing that similar to Rembrandta (TM)s paintings had turn into blurred with time, have tried to redefine the artista (TM)s importance either as a resource of thought to different artists and as an excellent artist in his personal correct. which will keep on the paintings all started through past generations, a bunch of best Dutch artwork historians from the college and museum international joined forces within the overdue Sixties to be able to research afresh the work frequently ascribed to the artist. The researchers got here jointly within the Rembrandt study undertaking which was once confirmed to supply the artwork international with a brand new usual reference paintings which might serve the neighborhood of artwork historians for the within reach and lengthy destiny. They tested the originals of all works attributed to Rembrandt taking complete benefit of todaya (TM)s subtle thoughts together with radiography, neutron activation autoradiography, dendrochronology and paint pattern research a « thereby gaining invaluable perception into the genesis and situation of the work. the results of this meticulous study is laid down chronologically within the following Volumes: THIS quantity: A Corpus of Rembrandt work, quantity I, which bargains with works from Rembrandta (TM)s early years in Leiden(1629-1631), released in 1982. A Corpus of Rembrandt work, quantity II, masking his first years in Amsterdam (1631-1634), released in 1986. A Corpus of Rembrandt work, quantity III, is going into his later years of acceptance (1635-1642), released in 1990. each one quantity contains a few Introductory Chapters in addition to the entire Catalogue of all work from the given period of time attributed to Rembrandt. during this catalogue each one portray is mentioned and tested in a close means, comprising a descriptive, an interpretative and a documentary part. For the authenticity review of the work 3 various different types are used to divide the works in: A. work via Rembrandt, B. work of which Rembrandta (TM)s authorship can't be definitely both accredited or rejected, and C. work of which Rembrandta (TM)s authorship can't be authorized. This quantity (Volume I) includes 730 pages, beginning of with 4 introductory chapters and discussing ninety three work. In transparent and available explanatory textual content all various work are mentioned, larded with immaculate photos of every portray. info are proven the place attainable, in addition to the result of modern-day technical imaging. during this quantity the 1st ever works through Rembrandt are mentioned, additionally utilizing his etchings as comparability.
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Extra info for A Corpus of Rembrandt Paintings I - 1625–1631
This group, which can perhaps most safely also be placed in 1629/30, includes first of all the Samson and Delilah in Berlin, which has already been mentioned (no. A 24) and bears a dating of 1628 which is most probably incorrect. This painting does, it is true, differ from the works mentioned above in its less static representation; but in approach and in the treatment of the figure of the Philistine - very succinctly modelled in the half-shadows and showing a lively articulation of the contours even though seen frontally- there is a striking affinity with the Nuremberg S.
It will be clear from the foregoing that the year 1629 represents a phase in Rembrandt's work during which he was putting into practice a widely varying range of possibilities, especially as regards lighting, yet doing so with a constantly and clearly recognizable approach to form and way of handling paint, and using frequently related compositional motifs. This variety makes it difficult (leaving aside the heads and head-and-shoulders portraits, which can best be discussed separately) to see how the works listed related chronologically to each other and to the few works dated 1630; one may perhaps assume that the Nuremberg S.
Finally, the Cleveland Bust of a young man (no. A 23), though now bearing a date of 1632, would seem to fit in best with this group of heads. The relationship between the figure and the dark background, as well as the treatment of the face, links this painting most closely with the two selfportraits in the smooth manner, while other features recur in the Gardner Self-portrait. If one is justified in assigning the date of 1629 to the Cleveland painting, this confirms the impression that Rembrandt was at this stage trying out a variety of solutions for problems oflight and form connected with the depiction of heads and busts.
A Corpus of Rembrandt Paintings I - 1625–1631 by J. Bruyn, B. Haak, S.H. Levie, P.J.J. van Thiel, D. Cook-Radmore, L. Peese Binkhorst-Hoffscholte